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Books on the topic 'Neo-romantic'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Scales, Terry. Terry Scales: "Paradise found" : a Neo-Romantic retrospective 1947-1989. London: Sweet Waters Gallery, 1989.

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2

Fieled, Adam. Cheltenham Elegies/Keats' Odal Cycle. New Delhi, India: Gyan Books, 2015.

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3

Yorke, Malcolm. The spirit of place: Nine Neo-Romantic artists and their times. London: Constable, 1988.

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4

Yorke, Malcolm. The spirit of place: Nine Neo-Romantic artists and their times. New York: St. Martin's Press, 1989.

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5

Yorke, Malcolm. Thes pirit of place: Nine Neo-Romantic artists and their times. New York: St. Martin's Press, 1989.

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6

Neo-romantic landscapes: An aesthetic approach to the films of Powell and Pressburger. Newcastle upon Tyne: Cambridge Scholars Pub., 2008.

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7

Nietzsche and the end of freedom: The neo-romantic dilemma in Kafka, the brothers Mann, Rilke and Musil, 1904-1914. Frankfurt am Main: Lang, 1993.

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8

Walter, Simmons. Voices in the Wilderness: Six American Neo-Romantic Composers. The Scarecrow Press, Inc., 2006.

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9

Voices in the Wilderness, Six American Neo-Romantic Composers. The Scarecrow Press, Inc., 2004.

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10

Cheltenham Elegies/Keats' Odal Cycle. Internet Archive, 2016.

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11

Yorke, Malcolm. The Spirit of Place: Nine Neo-Romantic Artists and Their Times. Tauris Parke Paperbacks, 2001.

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12

Mellor, David. A Paradise Lost: The Neo-Romantic Imagination in Britain 1935-55. Lund Humphries Publishers, 1993.

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13

David, Mellor, Crozier Andrew, and Barbican Art Gallery, eds. A Paradise lost: The Neo-Romantic imagination in Britain, 1935-55. London: Lund Humphries in association with the Barbican Art Gallery, 1987.

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14

Neo-classical and romantic: German drawings of the 18th and 19th centuries. Lübeck: Verlag Graphische Werkstätten, 1992.

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15

Lunn-Rockliffe, Katherine. French Romantic Poetry. Edited by Paul Hamilton. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199696383.013.7.

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French Romantic poetry marked a dramatic break with a national tradition of verse which had been inherited almost unaltered from the seventeenth century. During the eighteenth century, the neo-classical conception of poetry as a rule-governed and highly stylized art had continued to prevail; verse was characterized by a solemn tone and narrow lexis, and there was a rigid distinction between poetic genres. Whereas Romantic poetry in England and Germany seemed already to allow the imagination free reign, in France poets needed first to reject these neo-classical conventions. Victor Hugo declared in the preface to hisOdes et balladesof 1822 that ‘La poésie n’est pas dans la forme des idées, mais dans les idées elles-mêmes’ (poetry lies not in the form of ideas but in the ideas themselves), and the French Romantic poets were all in different ways engaged in reshaping the forms of poetry to suit their individual purposes.

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16

Nine Neo-Romantic artists: Nash, Piper, Sutherland, Ayrton, Clough, Colquhoun, Craxton, Minton, Vaughan. London: Albemarle Gallery, 1988.

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17

This Enchanted Isle: The Neo-Romantic Vision from William Blake to the New Visionaries. Gothic Image Publications, 2002.

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18

Paraschas, Sotirios. Romantic Drama. Edited by Paul Hamilton. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199696383.013.6.

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The French Romantic artist often has to define his place and his function in society in ways external to the essence of his work or to the aesthetic domain: he has to assume a mask. This conflict between the artist of genius or the exceptional individual and his time is explored in multifarious ways in Romantic texts. Strategically, drama was of crucial importance for the Romantics, not least because it was the last stronghold of neo-classicism; the stage was the field in which the battle between the ‘Classicists’ and the ‘Romantics’ was fought at its fiercest. The underlying idea of the plays discussed in the chapter is the internal conflict between the ‘authentic’, ‘pure’, ‘innocent’ self of the artist (the genius) and the ‘mask’ he has to assume in order to survive in a materialistic society and in the literary marketplace.

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19

Schiff, David. A Modernistic Education (1924–1935). Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190259150.003.0004.

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Carter’s formative years in New York, Harvard, and Paris brought him into contact with a broad range of contending and often contradictory aesthetic ideas and musical movements, including primitivism, expressionism, ultra-modernism, and neo-classicism. While in high school he encountered the ideas and music of American ultra-modernists and European modernists, often of an experimental or mystical nature, but at Harvard he was taught the classicist ideas of T.S. Eliot and sang with the Harvard Glee Club in the American premiere of Stravinsky’s neo-classical opera-oratorio Oedipus Rex. While Carter’s neo-classical leanings were encouraged by Walter Piston and Nadia Boulanger, the visionary romantic poetry of Hart Crane presented a different model for an artist’s life and work.

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20

Chaney, Michael A. The Concatenate Poetics of Slavery and the Articulate Material of Dave the Potter. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199390205.003.0008.

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This essay suggests the trope of “catination” as a governing aesthetic principle in Drake’s work. It then reads the illegibility of several of Drake’s inscriptions as being central to that aesthetic principle. The concept of catination is tied to the sequential nature of Dave the Potter’s inscriptions, their status on the jars as public utterances. Finally, this chapter theorizes the commodity relations and communities that Drake’s work proposes. It compares Drake’s inscriptions to those of Romantic poets and his craft objects to the colonoware made by other slaves in order to register a more precise account of Drake’s work as well as skepticism for Drake’s status as a singular, neo-romantic individual.

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21

Ingleheart, Jennifer. Sex, Latin, and Scholarship. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198819677.003.0004.

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This chapter analyses A. E. Housman’s Praefanda, a parallel for Bainbrigge’s subversive, witty, and allusive Latin. Sexuality and scholarship cannot be separated; this chapter deconstructs the popular stereotype of the divided Housman, whose romantic poetry touched on homoerotic desires, but who focused his scholarly energies on austere topics. Housman’s Latin demonstrates complex intertextuality with classical literature and neo-Latin writings on sex, and it teases his readers about his knowledge of sex and sexuality, and how that knowledge was gained; like Bainbrigge, he suggests that sexual knowledge cannot be separated from the body, and focuses on a range of sexual pleasures, many of which have been overlooked in classical scholarship. Praefanda has much in common with Housman’s homoerotic verses, but its liberated Latin also contains Housman’s most outspoken comments about sexuality ancient and modern, and offers an important challenge to conventional sexual morality.

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22

Lennartz, Norbert, ed. Byron and Marginality. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474439411.001.0001.

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The collection of essays intends to show that everything about Byron’s poetic work baffles the scholarly desire for neat categorisations. Various attempts at re-mapping Romanticism have given ample evidence of the fact that, as one of the ‘big six’ in the Romantic canon, Byron outgrows Romanticism and epitomises the fallacious character of a period that has always been compared to a dangerous quicksand. In his self-incurred marginality, Byron subjects the entire genre of poetry to a severe process of deconstruction: his œuvre ranges from verse tale to “epic narratives”, versified romances and poems which subvert the rigorous metrical and formal requirements and turn poetic forms into leaky vessels of incoherent quotations, intertextual reference and Molly Bloomian soliloquies.Taking to his role as a cultural fence-sitter, scoffer and outsider who watches his literary ambience from the stern perspective of a Neo-Classicist, Byron unveils and lays bare the repressed strata of human savagery which Romantic poetry normally glosses over and ignores.Doing the exact opposite of what Novalis and others circumscribed as the ‘poeticisation’ of prosaic 19^th-century reality, Byron subscribes to the idea that man is irretrievably a bête humaine, much more akin to the liver-devouring vulture than to Prometheus. It is this premise of ontological marginality that is eventually reflected in all aspects of Byron’s textual, generic, thematic and topographical marginality.

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23

Lehman, Frank. Expression and Transformation. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190606398.003.0003.

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This chapter introduces the two core theoretical concepts of this study: expressivity and transformation. These two topics are broached through an initial examination of two highly dissimilar cinematic style topics: whole-tone harmony and stepwise modulations. The stylistic and aesthetic continuity with Romantic Era practices, especially from Wagner, is emphasized. A working model of tonal expressivity is constructed, in which intrinsic and extrinsic musical factors combine to form combinatorial meaning. With these concepts in hand, the notion of transformation—the cornerstone of neo-Riemannian theory—is introduced, and the second half of this chapter fleshes out the idiom of pantriadic chromaticism. A clear definition for pantriadicism is offered, along with a provisional aesthetics and analytical methodology for the idiom. The chapter concludes with a treatment of three common guises of pantriadicism—absolute progressions, sequences, and discursive chromaticism—all of which tend to occur on the musical surface rather than background.

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24

Trencsényi, Balázs, Michal Kopeček, Luka Lisjak Gabrijelčič, Maria Falina, Mónika Baár, and Maciej Janowski. The Postwar “Transition Years”. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198737155.003.0008.

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Debates on the postwar “transition” are symbolically linked to the year 1945, but in many cases they had already started in 1943–4 and lasted until 1948. A general feeling of rupture with the past dominated throughout East Central Europe. Symbolic geographical references underwent important change, stressing some sort of synthesis between East and West. The experience of the Holocaust resulted in reflections on the responsibility of the region’s societies for the genocide. The debates of the immediate postwar period were also concerned with the relationship of democracy and socialism, the nationalization of communism, the conflict of neo-Romantic, neoclassicist, and modernist aesthetic sensitivities, and the clash between a strict adherence to Moscow and dissenting options. The noncommunist thought of the period ranged from social democratic and Christian democratic streams to various versions of nationalism. In turn, the armed anti-communist resistance rarely went beyond devising a mobilizing rhetoric, the most important exception being the Ukrainian underground, which produced relatively developed theoretical reflection.

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25

Malcolm, William K. Lewis Grassic Gibbon. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789620627.001.0001.

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Lewis Grassic Gibbon galvanized the Scottish literary scene in 1932 with Sunset Song, the first novel of the epic trilogy A Scots Quair, that drew vividly upon his deprived upbringing on a small croft in Aberdeenshire to capture the zeitgeist of the early twentieth century. Yet his literary legacy extends significantly beyond his breakout book. The seventeen volumes that he amassed in his short life, under his own name of James Leslie Mitchell as well as his Scots pseudonym, demonstrate his versatility, as historian, essayist, biographer and fiction writer. His corpus pays testimony to his core principles, rooted in his rural upbringing: his restless humanitarianism and his deep veneration for the natural world. Set against an informed conspectus of Mitchell’s life and times and incorporating substantive new source material, this study provides a comprehensive and searching analysis of the canon of a combative writer whose fame in recent years – as cultural nationalist, left-wing libertarian, proto-feminist, neo-romantic visionary and trailblazing modernist – has carried far beyond his native land. In tune with the intellectual climate of the inter-war years, Gibbon emerges as a passionate advocate of revolutionary political activism; in addition, as a profound believer in the overarching primacy of nature, he is represented as a supreme practitioner in the field of ecofiction. Coupled with his modernist experimentation with language and narrative, this firmly establishes him amongst the foremost fiction writers of the twentieth century – uniquely, a figure whose achievement has consistently won both critical and popular acclaim.

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26

Ross, Stephen J. Invisible Terrain. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198798385.001.0001.

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In his debut collection, Some Trees (1956), John Ashbery poses a question that resonates across his oeuvre and much modern art: “How could he explain to them his prayer / that nature, not art, might usurp the canvas?” When Ashbery asks this strange question, he joins a host of transatlantic avant-gardists—from the Dadaists to the 1960s neo-avant-gardists and beyond—who have dreamed the paradoxical dream of turning art into nature. Invisible Terrain examines Ashbery’s poetic mediation of this fantasy, reading his work alongside an array of practitioners, from Wordsworth to Warhol, as an exemplary case study of avant-garde transvaluation of Western nature aesthetics. Ashbery takes his coordinates from a constellation of British, American, and continental European poetic and visual art practices—from romantic nature poet John Clare’s presentational immediacy to the French “New Realism” movement’s “direct appropriation of the real” in the early 1960s—that share an emphasis on somehow transforming the material of art into a “second nature.” Nature, as Ashbery and his company understand it, is a vanguard horizon, a metaphor for art, that which lies beyond “art as we know it.” The fact that the artist can never realize this aesthetic fiction—which overturns what we generally mean by “art” and “nature”—makes it all the more powerful as a tool for staking out the limits of art. In chronicling Ashbery’s articulation of “a completely new kind of realism,” Invisible Terrain tells the larger story of nature’s transformation into a resolutely unnatural aesthetic resource in twentieth-century art and literature. But in documenting Ashbery’s eventual turn against this avant-garde tradition—most conspicuously in his archive of campy, intentionally “bad” nature poems—the project also registers queer resistance to the normative concept of nature itself as a governing conceit for art. The story begins in the late 1940s with the Abstract Expressionist valorization of process, surface, and immediacy—summed up by Jackson Pollock’s famous quip, “I am Nature”—that so influenced Ashbery’s early quest for transparent, anti-mimetic modes of composition. It ends with “Breezeway,” a poem about Hurricane Sandy and climate change. Along the way, Invisible Terrain documents Ashbery’s strategic literalization of the stream-of-consciousness metaphor, his pastoral dispersal of the lyric subject during the politically fraught Vietnam era, and his investment in “bad” nature poetry.

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